"Corazon ex Sombras" was born of a need for searching new narrative ways and a larger psychological depth in the roles of our stories. For that reason, our staging ran away from realistic form and tries to go inside the point of view that Elena has of herself and her world. What we see it is what she feels; and what we feel it is her not objective vision. It is for that reason we chose a minimalist set and space, making Elena's references non-existent. We have worked breaking the shots: dividing them, wetting them, burning them with flashes.... The images and characters that Elena sees are almost always her bad memories; with the unreal texture that bad memories always have. Elena is blind because she only perceives the reality that her mind-imagination dictates to her; beyond this reality is too real. The skepticism, caused by disappointments and the loss of faith in the others, are the excuses that Elena uses for concealing something deeper: a sleeping anger that often explode in a violent way. At the same time, "Corazon ex Sombras" is about mother-child relationships; always contradicted and always full of conflicts. Where the mutual reproaches try to hide the vulnerability that we feel with the people we love and the people who love us, and, with the people we hate and the people who hate us. But also, there is a reason for hope: Elena's nephew represents the continuity between the past, present and future of all the characters; and a different point of view that adds to the plot an extra color.